#i understand the focus on the not so great things happening

[emeryhiro]

Hello!

I am new here and is feeling very overwhelmed right now with that is happening in the caryl fandom. I appreciate your insight into these characters. I am someone who has not seen Daryl Dixon season 1 and is seriously considering if I should even watch it with all that is being said about s2.

Reading all the early reviews that has dropped - I get a lot of mixed reactions to Isabelle's character. Some ppl say she was the best part about season 1 while others don't even mention here in their reviews. The caryl fandom is largely, understandably, biased against her.

I do not know anything about Isabelle and was wondering what your thoughts about her are - how she holds up as a character?

Hi Anon!!

Thank you for your question. I'm really glad you asked this question, and thank you for the kind words🥰 I'm going to do my best to properly answer and share my thoughts on all the points you've mentioned.

Firstly, welcome to the fandom!! 💖 I'm sorry you've joined at a time of so much uncertainty, but I promise that at its core, this community is a beautiful place to be. But like all communities, there is always positivity and negativity, and it's important to be careful with what's surrounding you, ensuring it's a healthy balance that works for you.

I've divided my response into several sections, as I find that to be the best way to convey my thoughts. I also wanted to be as clear as possible since this is a sensitive topic for some, and I want to try to alleviate at least some of the worries.

A mild spoiler warning for a mention of something that happens in episode 1 of season 2.

Reviews on Season 2:

I wasn't planning on reading any of the reviews for season 2, but since you asked for my thoughts, I read all the articles that I could find so that I could give you an informed response. And one thing I advise is to always take reviews with a grain of salt (this includes my thoughts as well) because, ultimately, they're all based on the writers' opinions.

What I've found with all previous seasons of TWD, especially season 1 of Daryl Dixon, was that no single review I read aligned perfectly with what I thought of the show once I watched it myself. And I know I'll say the same about season 2.

Regarding what I read in the season 2 reviews, I don't think I've actually read a single concerning line in any of the ones I've come across, and I'm pretty sure I've read every single one that has been released. There are, however, a lot of people who, out of fear or concern, focus on single lines from a review that may sound negative or worrisome when taken out of context, and ignore everything else in the review that's purely positive.

I can see many people have shared their specific thoughts on different segments of several reviews, but I won't go into my thoughts here for the sake of keeping this response reasonable short. If you're interested in a detailed post about my thoughts on the reviews in general or any in particular, let me know, and I'll share it as soon as I get a chance.

My thoughts on Isabelle:

I found Isabelle to be a fascinating character with many layers. She is unquestionably flawed and has a great mix of both positive and negative characteristics, which I think is what gives her character so much potential. She's intelligent, driven, brave, headstrong, and very protective, but she's also undeniably manipulative, which makes sense when you think of it as a self-defence mechanism that she developed during her rocky life before the apocalypse. I'm also a fan of Clémence as an actress, and I think she's a great fit for this character.

This next bit might sound a bit contrevoursial but bare with me. I've seen Isabelle get a lot of hate for being manipulative towards Daryl, even I personally hated seeing Daryl be treated that way, but it's important to remember that we've also seen Carol behave manipulatively when she's had to in the past in order to protect the people that she loves. This is something you'll see Carol do once again in episode 1 of TBOC, and when I watched it, it made me uncomfortable, but ultimetly, I could see that it made Carol uncomfortable as well; she doesn't feel any satisfaction out of what she does and is willing to carry the weight of that lie and guilt to achieve her ultimate goal of saving Daryl, the person she loves.

Even though, on the surface, it's not an admirable thing to do, we appreciate Carol so much more because of the lengths she's willing to go to for the ones she loves, and we've also seen her journey to this point, which naturally makes us love her and empathise with her.

So my point here is that I can't judge Isabelle for the same behaviour I admire in my favourite character. Just like Carol may act that way to protect Daryl (her loved one), Isabelle was doing it because she believed (to the best of her knowledge) that it was what was best for Laurent (her loved one).

However, what doesn't sit right with me about Isabelle's character is that what the showrunners and writers have been saying about her doesn't align with what I've seen on screen (this is a great example of why I try to avoid looking at unnecessary publicity). I want to love her character for who she is, flaws and all, but the inconsistency in her publicity makes me feel like there's some discrepancy behind the scenes, and that has stopped me from investing in her character and gives me slight concern for the trajectory of her arc, which has so much potential that would be incredibly tragic if wasted.

The only other thing that I would disagree with (IF the show ends up going down that path) is the negative messaging that would be given out about nuns if every surviving nun on the show is portrayed as willing to forget her vows the minute there's a man in front of them that they find interesting. I'm not catholic, but I think that it would be incredibly disrespectful towards actual nuns and the sacrifices that they make for their faith. But please don't take this as fact because I don't think this will actually ever happen. I honestly don't believe that AMC or anyone involved with the show would knowingly do something like that. I'd be happy to explain this a little further, but I don't think it's relevant if you haven't seen the first seasons.

Watching TWD: Daryl Dixon S1 & 2

My question to you would be, what draws you to TWD/TBOC? Is it Caryl itself and potential canon? And if so, do you feel that you'd be left disappointed and/or unsatisfied with the potential lack of romance between the characters in season 2? Or, do you enjoy the show for a combination of things, like the character development, world-building, cinematography, etc.?

I want to emphasise that there is no wrong answer to the above. Everyone is unique, and it's 1000% understandable and fair for each person to have unique reasons for being drawn to and loving, hating, or even being indifferent about a show.

I personally fall in the latter category; I love TWD for its rich story, action sequences, cinematography, multitude of interesting characters, and the mind-blowing ways in which they have developed over the years (the whole package of the show is exactly my cup of tea), and of course, it's no secret if anyone looks at my blog that my favourite character (BY FAR) are Carol and Daryl. I absolutely adore them for everything they are, both as individuals and what they bring out in each other and mean to each other. And if Caryl is ever canon (which I expect would happen in season 3), then that would be the cherry on top of a show I already love.

My very short review of season 1 would be that I really enjoyed it and would rank it at the top between all the other spinoff seasons we've gotten so far. However, in all honesty, I still felt and noticed the hole that was left behind in the story with the absence of Carol, but knowing that she will be returning in season 2 kind of made up for that lack in season 1. All up, I really enjoyed season 1 and have watched it several times in the last year. I'm actually currently in the middle of watching it again in preparation for season 2.

My recommendations:

If you personally fall into the former category and, as mentioned above, feel that you'd be left disappointed and/or unsatisfied with the potential lack of romance between the characters in season 2, then perhaps it's better to wait till all the episodes are released to then decide if it's something that you'd like to watch.

If you're willing to accept and are okay with the potential lack of romance between Caryl in season 2 but are concerned about and would rather not watch any potential romantic relationship develop between Daryl and Isabelle, then I'd say that you should watch the season as it releases because I honestly don't believe that something like that is a real possibility. At most, there may be hints towards one-sided feelings from Isabelle's side and maybe some confusion from Daryl's side, but untimely, it would not mean or go anywhere. I'm personally not even bothered with this worst-case scenario because it doesn't matter how many people have feelings for Daryl or how confused Daryl is because I know that once he's reunited with Carol, there won't be any more uncertainty about where his heart and loyalties truly lie. There's honestly not a single ounce of me that's concerned about this.

If you're more like me and enjoy the show as a whole, even though you may be slightly disappointed with a few accepts, then I'd highly recommend that you watch season 1 before the release of season 2 (if you have the time), because it genuinely was a good season and will give you a lot of backstory and context that would make season 2 feel so much more enjoyable and immersive.

~~~~

Thanks again for your questions!! I hope this all makes sense and that it answers your questions. As I mentioned earlier, if you'd like me to expand on my thoughts on anything in particular, please let me know, and I'd be happy to do so.

My last bit of advice is this: I know it's easier said than done, but I urge you, especially as someone who's new to the fandom, to not allow a lot of different voices and opinions to shape how you naturally feel or invalidate what you take away from watching the show (not that I think that's what you're doing but this is the general advice I wanted to give just in case🩵). It's really easy for anyone to be influenced by negativity and positivity when they find that that's all they can see from the people around them.

I personally try to focus on what I see on screen and what I hear directly from Norman and Melissa because, at the end of the day, showrunners and writers come and go, but Norman and Melissa have embodied these characters from day one and understand them more than anyone else ever could.

♡♡♡

[mishtershpock]

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[opens-up-4-nobody]

...

[brine-in-my-eyes]

i feel like alot of my problems could be fixed or avoided entirely if i actually knew what anyone was actually fucking saying

[lilgynt]

no i don’t care that most of my moms commutation to me especially to direct question is just straight up ignoring me or some other form of non verbal communication. like grunting or vague pointing. the glass i broke outside is unrelated

[harrylights]

.

[stellarsagittarius]

⏳️🪐 12th House and How Your Mental Anguish Affects You 🪐⏳️

Exchange readings: Open: You (Tarot) x Me (Astrology)

12H ruler in 1H

Imma give you a hug first, okay. What you have gone through, like the experiences that you have had with the world at large, all that you have seen in your life, you internalized it all. You have sort of taken it upon you to be the witness of the suffering around you. Because you feel it all so personally. The person you have become, the thoughts and beliefs you carry are the way they are because of the absurdity of life that you have felt so deeply. It has shaped you, a lot. Next time, try to detach. It is not about you, it was never about you, it about them. You are observing, not absorbing.

12H ruler in 2H

When you are at that lowest point, second guessing everything, it really does affect your ability to manage your resources. And more often than not it can make you feel like you are not worth-it, or that you simply do not deserve to be happy. Especially if you have Chiron in the 2H too, it can feel suffocating because you keep on doing thing, trying to make it work, but you never feel like you did enough. Affirm to yourself about your successes, keep a gratitude journal and remind yourself that your need/wants are all valid.

12H ruler in 3H

You can completely obsess over finding out the reasoning behind why certain things happen the way it did. It's like you want to understand, you want to make actual sense out of it, why your problems are causing you the things that are happening. This can lead to a detachment from actually allowing yourself to feel things out and like emotionally get in a better shape first. You can get stressed out about the facts, a lot of the times. Perhpas communication is something you truly struggle with. Talk it out with someone, understand your feelings first and then a lot of the facts will start to make sense too.

12H ruler in 4H

A lot of your turbulent thoughts and experiences affect you very deeply, like the depth which can make you question your entire existence. Now, I gotta be honest with this one, you are clearing up a lot of karma from your family lineage. You are going to the very root of the issues. Because these mental anguishes aren't surface level for you, they are seated very deeply within your psyche. You have to face these deep seated demons, otherwise you can keep them shoving them down, till it becomes completely unbearable to face yourself. On the positive note, learn to be vulnerable with yourself, learn to be more accepting of what you are going through.

12H ruler in 5H

When you are at the low point in your life, you start to put a great distance between enjoying yourself and becoming completely oblivious to your childlike nature. You need to embrace your inner child. Do what you want, but do not do it because you feel like you can't do anything else with your life. There needs to be like a balance here, between enjoying yourself and knowing when it can get destructive. Too much of anything never did good. You can struggle with finding that simplistic joy in life. So try and spend time alone for a while, maybe get a coloring book or just try and bake cookies. You don't have to be good at something to enjoy it. Even if it's loving yourself.

12H ruler in 6H

You can neglect your health like nobody's business. These thoughts, stress and anguish can manifest directly in your body. That's what it is. When you are not in a good energy, you know you need to reconnect with your body. This may come initially as a bit challenging to truly get yourself to do, but, once you build that habit over time, you will realise how much you have mastered yourself. Focus on your physical well-being. This placement is very simple. You don't need to spend time spaced out and in another world. Get down and strengthen your body, you will notice that you will start to feel much more better in your mind.

12H ruler in 7H

When you get to a low point in life, the point where you are confronted with your old habits, fears and challenging emotions, it highly reflects in your relationships (more so the romantic kind). You can easily slip into unhealthy patterns with your partners, like seeing them with rose colored glasses or not having a proper sense of boundary with them. And you may even fear that true vulnerability with them. So when that happens, seek to be honest by being polite. You are not for everyone, and the ones that are for you will always understand this. Relationship can either make you or break you, choose the people wisely.

12H ruler in 8H

At the lowest points in your life, the people who aren't by your side intentionally, remember them because they are not supposed to be a part of your life. A healthy bond is where both people are there for each other, and that's exactly what life keeps teaching you over and over again. Your biggest anguishes are be caused because of the way certain people treat you and use you for their own benefit. When that happens, remember your biggest enemy is what you do not choose to see within those who take advantage of your kind nature. Yes, we can witness everybody's suffering, but at the end of the day everybody is responsible for themselves.

12H ruler in 9H

When you are at that low point in your life, you can question your faith a lot. There is a feeling where trusting your morals can become really hard. It's like when you know you truly love something, but the mere beliefs that everybody has instilled within you from birth hold you back. And you may even be the type who rebels often because of this thing. Create your own beliefs. That will require you to question what you have always been taught, don't be afraid to question it. You need let yourself see thing. At your lowest you can really see in black and white. Take a step back and observe. Read and learn.

12H ruler in 10H

Many of your mental anguishes come from you struggling with what kind of image you want to uphold between other people. You may struggle a lot with showing up between people or excessively thinking of what other people may think of you when you are at the low points in your life. You can often feel like other people look so deep within you, within the things you want to hide from everybody. When that happens, remember that what others think of you is absolutely none of your business. As long as you know that you are on the right track, you don't need anyone to tell you otherwise.

12H ruler in 11H

You are learning to trust in your dream and not hold yourself back from achievement. You know when you are at those low points in your life, there could be a deep seated fear of missing out on opportunities. You can start to second guess your own hopes, uncertain if you even deserve to have what you want or not. There could also be this sense of feeling like there is no hope left for you, like there is nothing anymore you want to have. When that happens, try to remain grateful, look at all the cool things you have achieved till now, appriciate yourself, open yourself up to something new.

12H ruler in 12H

When you hit rock bottom, it's like plunging into the deepest recesses of your mind, where you confront your fears and doubts about existence. It's a heavy burden, carrying the weight of your own struggles and the suffering of the world within you. At times, it feels suffocating, like you're lost in a maze of your own thoughts, trying to make sense of it all. But amidst the darkness, there is also potential for a lot of spiritual growth. Your journey through the depths of your psyche can lead to a greater understanding of yourself and the universe. Meditate often, and write your thoughts, talk to someone like-minded. Do not isolate yourself either.

______♡______

That's all! Thanks for reading!

[thewriteadviceforwriters]

The Telling Truth: When 'Show, Don't Tell' Doesn't Apply (You Don't Always Have To Show, Don't Tell.)

Hey there, fellow writers and beloved members of the writeblr community! 📝✨

Today, I want to talk about something that's been on my mind lately, and I have a feeling it might resonate with many of you too. It's about that age-old writing advice we've all heard a million times: "Show, don't tell." Now, don't get me wrong – it's great advice, and it has its place in our writing toolbox. But here's the thing: it's not the be-all and end-all of good writing. In fact, I'd argue that sometimes, it's perfectly okay – even necessary – to tell rather than show.

First things first, let's address the elephant in the room. The "show, don't tell" rule has been drilled into our heads since we first picked up a pen (or opened a Word document) with the intention of writing creatively. It's been repeated in writing workshops, creative writing classes, and countless craft books. And for good reason! Showing can create vivid, immersive experiences for readers, allowing them to feel like they're right there in the story.

But here's where things get a bit tricky: like any rule in writing (or in life, for that matter), it's not absolute. There are times when telling is not just acceptable, but actually preferable. And that's what you all will explore today in this hopefully understandable blog post.

Let's start by breaking down why "show, don't tell" is so popular. When we show instead of tell, we're engaging the reader's senses and emotions. We're painting a picture with words, allowing the reader to draw their own conclusions based on the details we provide. It's a powerful technique that can make our writing more engaging and memorable.

For example, instead of saying "Sarah was angry," we might write, "Sarah's fists clenched at her sides, her jaw tight as she glared at the broken vase." This gives the reader a clearer image and allows them to infer Sarah's emotional state.

But here's the thing: sometimes, we don't need or want that level of detail. Sometimes, efficiency in storytelling is more important than painting an elaborate picture. And that's where telling comes in handy.

Imagine if every single emotion, action, or piece of information in your story was shown rather than told. Your novel would probably be thousands of pages long, and your readers might get lost in the sea of details, losing sight of the main plot or character arcs.

So, when might telling be more appropriate? Let's explore some scenarios:

Summarizing less important events: If you're writing a story that spans a long period, you don't need to show every single day or event. Telling can help you summarize periods of time or less crucial events quickly, allowing you to focus on the more important parts of your story.

For instance: "The next few weeks passed in a blur of exams and late-night study sessions." This sentence tells us what happened without going into unnecessary detail about each day.

Providing necessary background information: Sometimes, you need to give your readers some context or backstory. While you can certainly weave this information into scenes, there are times when a straightforward telling of facts is more efficient.

Example: "The war had been raging for three years before Sarah's village was attacked." This quickly gives us important context without needing to show the entire history of the war.

Establishing pace and rhythm: Alternating between showing and telling can help you control the pace of your story. Showing tends to slow things down, allowing readers to immerse themselves in a moment. Telling can speed things up, moving the story along more quickly when needed.

Clarifying complex ideas or emotions: Some concepts or feelings are abstract or complex enough that showing alone might not suffice. In these cases, a bit of telling can help ensure your readers understand what's happening.

For example: "The quantum entanglement theory had always fascinated John, but explaining it to others often left him feeling frustrated and misunderstood." Here, we're telling the reader about John's relationship with this complex scientific concept, which might be difficult to show effectively.

Maintaining your narrative voice: Sometimes, telling is simply more in line with your narrative voice or the tone of your story. This is especially true if you're writing in a more direct or conversational style.

Now, I can almost hear some of you saying, "But wait! I've always been told that showing is always better!" And I completely get it. I'm a writer myself and prioritize "Show, Don't tell." in my writing all the time. We've been conditioned to believe that showing is superior in all cases. But we can take a moment to challenge that notion.

Think about some of your favorite books. Chances are, they use a mix of showing and telling. Even the most critically acclaimed authors don't adhere strictly to "show, don't tell" all the time. They understand that good writing is about balance and knowing when to use each technique effectively.

Take, for instance, the opening line of George Orwell's "1984": "It was a bright cold day in April, and the clocks were striking thirteen." This is a perfect blend of showing and telling. Orwell shows us it's a bright, cold day (we can imagine the crisp air and clear sky), but he tells us about the clocks striking thirteen. This immediate telling gives us crucial information about the world we're entering – it's not quite like our own.

Or consider this passage from Jane Austen's "Pride and Prejudice": "Mr. Bennet was so odd a mixture of quick parts, sarcastic humour, reserve, and caprice, that the experience of three-and-twenty years had been insufficient to make his wife understand his character." Here, Austen is clearly telling us about Mr. Bennet's character rather than showing it through his actions. And yet, it works beautifully, giving us a quick, clear insight into both Mr. Bennet and his wife.

The key is to use both techniques strategically. So, how can you decide when to show and when to tell? Here are some tips:

Consider the importance of the information: Is this a crucial moment in your story, a pivotal emotion, or a key piece of character development? If so, it might be worth showing. If it's more of a transitional moment or background information, telling might be more appropriate.

Think about pacing: If you want to slow down and really immerse your reader in a moment, show it. If you need to move things along more quickly, tell it.

Evaluate the complexity: If you're dealing with a complex emotion or concept, consider whether showing alone will be enough to convey it clearly. Sometimes, a combination of showing and telling works best for complex ideas.

Consider your word count: If you're working with strict word count limitations (like in short stories or flash fiction), telling can help you convey necessary information more concisely.

Trust your instincts (Important): As you write more, you'll develop a feel for when showing or telling works better. Trust your gut, and don't be afraid to experiment.

Now, let's talk about how to tell effectively when you do choose to use it. Because here's the thing: telling doesn't have to be boring or flat. It can be just as engaging and stylish as showing when done well. Here are some tips for effective telling:

Use strong, specific language: Instead of using vague or generic words, opt for more specific, evocative language. For example, instead of "She was sad," you might write, "A profound melancholy settled over her."

Incorporate sensory details: Even when telling, you can include sensory information to make it more vivid. "The room was cold" becomes more engaging as "A bone-chilling cold permeated the room."

Use metaphors and similes: These can help make your telling more colorful and memorable. "His anger was like a volcano ready to erupt" paints a vivid picture without showing the anger in action.

Keep it concise: One of the advantages of telling is its efficiency. Don't negate that by being overly wordy. Get to the point, but do it with style.

Vary your sentence structure: Mix short, punchy sentences with longer, more flowing ones to create rhythm and maintain interest.

Remember, the goal is to create a seamless narrative that engages your reader. Sometimes that means showing, sometimes it means telling, and often it means a artful blend of both.

It's also worth noting that different genres and styles of writing may lean more heavily on one technique or the other. Literary fiction often employs more showing, delving deep into characters' psyches and painting elaborate scenes. Genre fiction, on the other hand, might use more telling to keep the plot moving at a brisker pace. Neither approach is inherently better – it all depends on what works best for your story and your style.

Now, I want to address something that I think many of us struggle with: the guilt or anxiety we might feel when we catch ourselves telling instead of showing. It's easy to fall into the trap of second-guessing every sentence, wondering if we should be showing more. But here's the truth: that kind of constant self-doubt can be paralyzing and ultimately detrimental to your writing process.

So, I want you to understand and think: It's okay to tell sometimes. You're not a bad writer for using telling in your work. In fact, knowing when and how to use telling effectively is a sign of a skilled writer.

Here's some practical ways to incorporate this mindset into your writing process:

First Draft Freedom: When you're writing your first draft, give yourself permission to write however it comes out. If that means more telling than showing, that's absolutely fine. The important thing is to get the story down. You can always revise and add more "showing" elements later if needed.

Revision with Purpose: When you're revising, don't automatically change every instance of telling to showing. Instead, ask yourself: Does this serve the story better as telling or showing? Consider the pacing, the importance of the information, and how it fits into the overall narrative.

Beta Readers and Feedback: When you're getting feedback on your work, pay attention to how readers respond to different sections. If they're engaged and understanding the story, then your balance of showing and telling is probably working well, regardless of which technique you're using more.

Study Your Favorite Authors: Take some time to analyze how your favorite writers use showing and telling. You might be surprised to find more instances of effective telling than you expected.

Practice Both Techniques (Important): Set aside some time to practice both showing and telling. Write the same scene twice, once focusing on showing and once on telling. This can help you develop a feel for when each technique is most effective.

Now, let's address another important point: the evolution of writing styles and reader preferences. The "show, don't tell" rule gained popularity in the early 20th century with the rise of modernist literature. But writing styles and reader tastes have continued to evolve since then.

In our current fast-paced world, where people are often reading on devices and in shorter bursts, there's sometimes a preference for more direct, efficient storytelling. This doesn't mean that showing is out of style, but it does mean that there's often room for more telling than strict adherence to "show, don't tell" would allow.

Moreover, diverse voices in literature are challenging traditional Western writing norms, including the emphasis on showing over telling. Some cultures have strong storytelling traditions that lean more heavily on telling, and as the literary world becomes more inclusive, we're seeing a beautiful variety of styles that blend showing and telling in new and exciting ways.

This brings me to an important point: your voice matters. Your unique way of telling stories is valuable. Don't let rigid adherence to any writing rule, including "show, don't tell," stifle your natural voice or the story you want to tell.

Remember, rules in writing are more like guidelines. They're tools to help us improve our craft, not unbreakable laws. The most important rule is to engage your reader and tell your story effectively. If that means more telling than the conventional wisdom suggests, then so be it.

As I wrap up this discussion, I want to leave you with a challenge: In your next writing session, consciously use both showing and telling. Pay attention to how each technique feels, how it serves your story, and how it affects the rhythm of your writing. You might discover new ways to blend these techniques that work perfectly for your unique style.

Writing is an art, not a science. There's no perfect formula, no one-size-fits-all approach. It's about finding what works for you, your story, and your readers. So embrace both showing and telling. Use them as the powerful tools they are, and don't be afraid to break the "rules" when your instincts tell you to.

Remember, every great writer started where you are now, learning the rules and then figuring out when and how to break them effectively. You're part of a long, proud tradition of storytellers, each finding their own path through the winding forest of words.

Keep writing, keep growing, and keep believing in yourself. You've got this!

Happy writing! 💖✍️ - Rin T.

Before you go, why not join us at The Write Right Society? We're a supportive Tumblr community where writers lift each other up. Whether you're a newbie or a pro, we'd love to have you! Share your work, get feedback, and connect with fellow wordsmiths, writers and aspiring authors. 

[ddiidi]

bf!Bangchan x gn!reader (ot8 mentioned)

Masterlist

When he calls you clingy, so you distance yourself

Previous Pt. 1

Pt. 2

Next Pt. 3

!Warnings: angst, swearing, fun at the end bc reader needs fun in life (lmk if i missed anything)

Important!Side-Note!: Should I do a happy ending for them?

It has been 3 days since that incident. 3 days and still not a single message from Chan, not even an apology for yelling at you, nothing. You've been texting him every now and then, to ask if he's okay, eats and sleeps. He never replied to any of them, nor has he seen them, so you spend most of the time packing your stuff and working from home. You were glad you had a job you also could work from home for. Every now and then, you went over to the building, to check a few things, walking extra detours, to make sure, you won't bump into Chan.

A few of the other members texted you the past days, asking if everything is okay and why the haven't seen you around for a while, to which you just replied with "Busy with work and private stuff, dww:)". It made you happy they actually care that much about you, just because they haven't seen you in a few days, but also anxious and sad, since they care, but chan hasn't even shown any intress in you the past days. You weren't even able to tell him that you're moving.

More days pass, and a few days, turn into a week of no textes from Chan. At this point, you wondered if he even knew that you still exist.

So here you were, in your old apartment, stuffed with boxes, not being able to get your mind off chan and his well-being, even though, you're still deeply hurt from what he said, you couldn't just not not care about him....He pointed out two of your insecurities, just like that as if it was nothing and he doesn't even care...not about you not your feelings.

You let out a deep sigh. You should be getting ready for a day with your friends. Not think about some man, who happened to be the love of your life, who calls you his partner, but doesn't even know how to cherish you.

You let out another, heavy, sigh as you drop to the floor to put on your shoes, Let's just focus on having a great time today, you thought to yourself and left the apartment.

Well, maybe it was not the best decision to go out today...

Chan for his part, had to listen to a lectur from Felix, after you ran out, crying. "Chris..you really shouldn't have said all that to her. I understand that you were annoyed or whatever, but that was no reason to yell at her" "Really now? They were just being a fucking, clingy and annoying crybaby that couldn't take no for an answer, for whatever reason." chan sighed out, at the younger member. "That crybaby...was really uncalled for chris. They're your partner, not some random person on the street you can yell at. I wouldn't wonder if they took that "Leave me alone" to heart and actually leave you after that action." "But I-" chan starts, "I'm just saying chris. You better fix this before it's too late. After what you pulled, partners are faster gone than you could blink" with that, Felix leaves the room, leaving Chan alone, again.

Since that talk, Chan locked himself in his studio, thinking about the best way to apologize for what he said. But he couldn't find one. No matter how long he thought, days, a whole week, there was nothing but regret. He just had to apologize in person and beg for forgivness, hoping that you'd actually forgive him.

So there he was, with a giant bouquet of flowers, fresh clothes and hope.

He had the code to your apartment, so he opened the door, ready to be greeted by the warm, wide open hallway, but was greeted with the cold gray of bunch of boxes instead and the first thing he felt, was panic."Y/n? Y/n are you there?" he yelled, as he ran through your whole apartment, but as he saw that even all your date polaroid pictures where gone, he couldn't help but panic even more.

He let's the flowers fall on the floor, running to your room and nearly collapsed when he found..nothing. Where were you? Did you actually go? Did you actually leave him? All these questions consumed his head and that's when he broke, crying to the point he couldn't breath. He took out his phone and called the first number he saw in his recent calls. It peeped a few times, before someone took the call.

"Hey Chris everything alr-" "They're gone! Felix they're gone, they're not here i don't know what to do! I've never meant it I was just-" chan cried and gasped out at felix on the other line. "Woah there calm down, try to breath I don't understand a word. Relax, I'll be there okay? You know there is an explination for everything, that's what you always say, so try to relax it's okay" Felix tried to soothen the older man, while grabbing his keys and running out to his car. Chan didn't reply anything to that and continued soobing.

I have your location, I'll be there in 5." that's the last thing chan heared from felix, before he collapsed on the floor in your apartment.

And you? You were drinking coffee with your friends, while your bestie told you guys a story how she saw a horse that nearly drowned.

‧͙⁺˚*･༓☾✧༺🖤༻✧✧༺🖤༻✧✧༺🖤༻✧☽༓･*˚⁺‧͙

@finnbbl @wolfs-howling

[beatingdrumspouringwine]

Advice for beginner Hellenists

This isn't necessarily a post where I include a list of Gods, epithets, resources, and offerings for said Gods, but rather, hopefully soothing the worries of those of us who are starting the journey into the religion. As someone who was once in a religion that made other religions sound like something absolutely terrifying, my journey into Hellenism was once which was also... pretty terrifying, and this fear was mostly just from my own mind.

Anyways, my list of Advice:

You can literally just start praying. If you want to get more formal, you can absolutely get more formal, but you very much don't have to. I've definitely had my first prayers to some Gods be "hello, [God or Goddess's name], I want to worship You! Please lead me in my journey. Thanks!" I can promise you, the Gods are much kinder and more understanding than any of us fully know.

You can also just start worshiping in general. I feel like I've seen on occasion people worried about the Gods not "calling" to them. This is definitely not something that needs to happen pre-worship. If you find them interesting enough to pray to, then that in and of itself is enough.

In a similar vein, I wouldn't be too concerned about the idea of "signs". I feel like there's a tendency for folks to be incredibly worried about everything when first starting out - the behavior of a candle, the sighting of an animal, a strange dream, all can suddenly seem to take on jarring significance. But I can promise you, the Gods don't constantly give out signs, and frequently, these strange occurrences can be attributed to the mundane. When something comes from the Gods, you will know, trust me!

You don't have to worry too much about the idea of cleanliness, be it spiritual or physical. Khernips are cool, and I'd definitely recommend integrating them into your practice sooner or later. Hygiene is cool too! But if I'm being honest, we in the modern day are far more physically clean, and a lot less likely to regularly encounter the type of pollution that would have been encountered in ancient Greece.

The Gods will be at varying distances over the course of your worship. Sometimes, They will feel close, joyfully, burningly so. And sometimes, They will feel far, and prayers may even feel a bit futile. Both of those are perfectly okay, and neither of those will be permanent.

And, once again in a similar vein, you will likely not find yourself having constant, close mystical experiences with the Gods (i.e., conversations, visions, etc.). These experiences are rare and far between, and I would advise that you not make them a central part of your worship. They will come when the Gods deem you're ready for them, and you definitely won't be expecting it. Focus on the little things!

My final thing (for now) is that you also shouldn't put undue pressure on yourself to be doing some sort of big offering to the Gods. If that's what you can afford, that's great! But if not, fresh water, a small wildflower that you came across and picked*, or a small bit of a meal also count as a good offering!

And with that, my (much longer than I was previously planning on) list of things for beginners to keep in mind! A lot of this list is made up of things which I picked up along the way, and a lot of it is also made from my own personal hindsight being 20/20. I hope this is helpful to someone, and that it maybe soothes some of the (incredibly common) worries which so often accompany those who are venturing into the world of Hellenic polytheism!

[tropicalcryptid]

Ok so She-Ra pulled such a great hat trick with Hordak's characterization, and I LOVE it

One of my favorite things about 2018 She-Ra is Hordak's story and development (and Entrapdak cough but that's not the point of this particular post), and the cleverest thing is that so much of it is actually being set up and told to us in seasons 1 and 2 before we even realize that that's what's happening.

When we first see Hordak in the show, he's giving "generic evil overlord" vibes. Garden-variety baddie. Maybe a little more reasonable than some and clearly capable of long-term thinking, but that just serves to make him intimidating. Everything about him--the way he runs his empire, his armor, his color scheme, his minion, his Villainous Eye Makeup(TM), even his name--are all projecting to the audience "yup, Acme Bad Guy here. Move right along."

But then, backstory. And everything snaps into focus. Not only is it one of the first big oh SHIT moments of the show, where we suddenly zoom out and realize that there is SO much more going on than we realized--it's also the start of the audience seeing Hordak as a character rather than an archetype. Suddenly we realize that he's not conquering Etheria because he wants power, or hates happiness and sparkles, or whatever--he's doing it out of a desperate attempt to prove his worth to his brother/creator/god. This moment where Hordak lets Entrapta in is also the moment the show lets us in on what makes our favorite spacebat tick.

On top of that, we've also seen him bonding with Entrapta and opening up to this person that he respects and trusts...probably the only person he's ever respected or trusted apart from Prime. And she's Etherian--someone of a lower species, someone he's supposed to subjugate, someone who he has been raised and trained and programmed and mind-controlled into believing is below him in every way.

But instead she's brilliant and creative and mesmerizing. She's not afraid of him, and she's fascinated with his work. For the first time since being abandoned by Prime, Hordak finally has someone that he can talk to, who is on his level and both understands and cares about the science! (because he is a giant nerd). She's kind to him, a mere defect. And it just sends his whole worldview into a spin, and that's all before--

Bam, mans is a goner. Entrapta's "Imperfections are beautiful" comment punches right through all the toxic bs that Hordak has been steeped in his entire life. You can see on his face here--I think it's the moment Hordak fell in love with Entrapta, but this is also the face of a spacebat reevaluating his entire worldview. If Entrapta, who is amazing, believes something different from Prime...what does that mean? If Entrapta, who is brilliant, believes that he is worth something, and that she herself is a failure...

Well. We know what happens after that, and how Hordak begins to doubt, and eventually fights back against Prime (and remembers his love for Entrapta after TWO mind wipes help my heart ack). But we also get to see what life in the Galactic Horde looks like: the only life Hordak ever knew before coming to Etheria.

It's not nice.

It's really not nice.

Prime operates in a very specific way, and we learn a lot about it in season 5. Prime expects complete obedience, devotion and worship from his clones. He allows no individuality from his subjects, not even a name. Failure or deviations are punished, mind-wiped, or destroyed. We even learn from Wrong Hordak that facial expressions are considered a privilege reserved for Prime (apart from, presumably, expressions of rapture caused by being around Prime).

And once we learn all of this, suddenly thinking about season 1 Hordak becomes very interesting indeed. The time we spend with the Galactic Horde and Prime throws absolutely everything that we know about Hordak into a whole new context. Now all those traits that made him a generic villain are actually hugely effective characterization! And what that characterization is telling us is that Hordak had already moved much farther away from Prime than we (or, probably, he) had realized, even long before he met Entrapta.

Horde Prime does not allow his underlings to have names, personalities, or any differences of appearance. Not only does Hordak allow this among his own troops, he chose a name for himself as well! Season 5 tells us that his very name is an act of blasphemy against his god. And yet Hordak took one for himself, and that name is part of the core identity he is able to hold on to when rebelling against Prime.

Horde Prime cast Hordak out when he showed signs of physical imperfections. Hordak not only keeps Imp (who is by all appearances a failed clone or similar experiment) around, he treats Imp more gently than we see him treat anybody or anything before Entrapta. Imp is not simply "generic evil guy's minion," he is proof of Hordak's capacity for compassion, and evidence that Hordak cannot bring himself to cast aside "defects" as easily as Prime. Considering where Hordak came from, Imp's existence is a huge, flashing neon sign telling the audience this guy here is better than the hell that molded him, and we don't even realize it until 4 seasons after it's been shown to us!

Very cool, ND.

There's more, though. Hordak's red and black color scheme? His dark eye makeup and lipstick? Very Evil Overlord chic. But nope! Actually these are actually expressions of individuality on a level that Hordak knows would be abhorrent to Prime!

Reading between the lines, I see this as Hordak desperately trying to reconcile two diametrically opposed beliefs in his head: (1) devotion to Prime, whose approval he desperately craves, and (2) maintaining some degree of unique personhood, of Hordak, from which to draw strength. Because a failed, defective clone cannot survive on a hostile world, cut off from the hivemind and from Prime's light. A failed clone cannot create an empire to offer Prime as tribute, nor build a spacetime portal from scraps and memory to call Prime back. A failed clone cannot create cybernetic armor to keep his hurting, weakened body alive; to force himself to keep going no matter what, to fight through the pain and the doubt by sheer force of will.

But maybe Hordak can.

And so there it is. Hordak had plenty of time to gain and explore his individuality while separated from Prime, but I think the reason he did it so effectively (while still deluding himself that Prime would forgive him for these little sins, if only Hordak could prove his value) is because he had to.

Wrong Hordak gained his individuality surrounded by kind, quirky people who took care of him; Hordak was ripped from the hivemind by Prime himself and had to fight for his survival against all odds. And that produced a dangerous and damaging foe for Etheria. But it also produced the one clone with the strength of will to defy Prime himself.

This is long and rambling, but ultimately my point is that 1) I love Hordak, and 2) I love love love love that the show was so clever about his characterization. We learn so much about him and how much progress he's already made in breaking from his psycho abusive cult upbringing, and we don't even recognize it until the show wants us to. Hordak had come so far, all on his own, before he met Entrapta. She just helped push him over the edge and finally realize (at least consciously) that Prime's worldview might not be the correct one.

Idk, I just don't know if I've ever seen all the trappings of Basic 80's Villain(TM) so successfully subverted, where looking back 4 seasons later is actually a smack in the face with the "effective character building" stick. Amazing.

[snarky-badger]

Places to donate to help Palestine

PCRF.net - They did over a 100 medical missions in 2022 (Palestine Children’s Relief Fund)

Middle East Children's Alliance - A Non-profit organization fighting for the well-being and rights of Middle Eastern Children. They also have a link to a 'tool kit' to help spread information about the Gaza Genocide. I'm linking to it directly HERE

Anera: Where Hope Finds a Way - They provide everything from food, medicine and hygiene kits. $30 equals 16 blood bags - an essential thing for helping doctors help people survive horrible physical trauma.

UNICEF.org - Link to where you can donate to help UNICEF get aid to those suffering in Palestine.

And because I know damn well that lots of people don't have the extra funds to donate money - you can help by simply clicking here once a day. It donates ad revenue. Click to help Palestine

[I wanted so much to find other places people could donate that weren't in the US or Canada, but I was having problems figuring out how to ensure that they were reputable. If anyone knows of any, please reblog and add the links!]

And some basic informational sources for those who want to understand what's really going on other than the misleading information from the media.

BDS - The Boycott, Divestment, Sanctions movement works to end international support for Israel's oppression of Palestinians. Offers actual news about what's happening.

Decolonize Palestine - In depth information about the history and origins of Palestine. Also has a great 'debunked myths' section that lists almost all of all the lies the Media has been peddling.

Mondoweiss - An independent website devoted to informing readers about developments in Israel/Palestine and related US foreign policy. (Be aware: Some articles show disturbing images of the horrors happening in Gaza.)

Petitions I found with reputable track records (there are a LOT of fakes out there)

Canada:

Independant Jewish Voices Canada - Gaza on the Brink Ceasefire Now! - Prewritten letter to Justin Trudeau and Mélanie Joly calling for an immediate ceasefire, and for an end to the collective punishment of Palestinians. Just sign your name and it sends a letter!

There are several other ways (Including email addresses to various people/companies, as well as physical addresses you can mail letters to) listed here.

DON'T send threats/hate mail. That does nothing but make them double down on their current stances. Be polite. You don't have to take a happy tone, but be polite.

United States:

USA - Tell Congress: Stop Fueling the Gaza Genocide - Demanding an immediate ceasefire and for Humanitarian Aid to be allowed into Gaza.

Jewish Voice for Peace - You can use their form for send a letter to Congress to demand that they should focus on de-escalation instead of sending money and weapons to Israel so they can continue their genocidal war against Palestinians.

Jewish Voice for Peace (part 2) - Fill out this form and inform President Biden that he should call for a ceasefire and stop supplying money and weapons to Israel.

[triptuckers]

sparring sessions - percy jackson

Request: yes! "ok so ik it’s kinda (by kind of i mean VERY) cliche, but i was wondering if u could do like an angst -> fluff where like percy and reader get into a fight n stuff and he like admits that he loves them??" Pairing:  percy jackson x reader Summary:  when an argument between you and percy gets heated, some things are revealed Warnings:  mentions of injuries and blood, arguing, angst Word count:  858 A/N: raaaaaahhh I LOVE me some cliche's LETS GO !! thanks for you request, enjoy!

it started out as an innocent sparring session between percy and jake, a hephaestus kid. a couple kids from hermes, hephaestus, and athena decided to get together to train. you and percy also joined.

you'd been at camp longer than percy, so you had trained him in the beginning. the two of you often train together even though percy is now better than you.

but somehow he still looks at you while sparring with someone else. if it's to read your facial expressions or just because you're in his line of sight, you're not sure.

but today it nearly went wrong.

while percy and jake were sparring, percy was looking at you and too late to block jake's sword. he managed to make a deep cut in percy's arm.

the session was immediately ended and percy put his sword away. while the other kids continued their training session, you walked away. you couldn't stay there and be around percy right now. clearly he hadn't listened to you.

but percy, having seen your face, follows you.

as soon as you get to percy's cabin - which provides you with more privacy than your own - you turn around to look at him with an irritated look on your face.

'I told you to ignore me if you're sparring!' you say.

percy frowns. but nothing bad happened? why are you mad at him? besides, he can't look away from you when he's sparring. he thought you knew this.

'and how am I supposed to do that?' says percy, watching as you take off your armor and neatly put it away. 'you're the one that taught me. of course I need to see if you think I'm doing a good job.'

you pinch the bridge of your nose between your fingers. you're trying so hard to stay calm right now.

'of course I think you're doing a good job, percy.' you say. 'I know you're good at what you do. but you'd do a great job if you would listen to my advice and avoid getting stabbed.'

percy makes a soft offended noise. 'first of all, I didn't get stabbed. I got nicked!'

you groan out loud 'percy! come on, don't be stubborn!'

'I'm the one being stubborn? you should see yourself when you're sparring. you want it to be perfect but fighting never is! it's messy, no matter how good you train someone.'

'I'm going for a walk.' you say, before you get angrier and say things you don't mean.

you grab your armor and walk towards the door, but he steps in front of you, blocking the doorway.

'oh no, you're not. we're not done yet.' says percy, crossing his arms over his chest, displaying the cut on his arm that he didn't have time to heal yet.

'got more to say?' you say.

'yes. you never did actually tell me what I did wrong.' says percy. 'you're mad, I can tell. but you didn't tell me what it was that I did that's made you mad.'

'yes I did. I told you that you need to ignore me when you're sparring. focus all of you attention on the opponent, not me.'

'I can't do that.'

'can't focus on the opponent? I noticed.'

'that's not what I meant!'

'then what do you mean!'

'I meant I can't ignore you when I'm sparring!' says percy loudly. 'I can never ignore you, don't you understand that? whenever you're near you always have my attention, I can never look away. even when you're not near me I'm thinking about you. gods, you're always on my mind because I love you, okay? so I'm sorry if I can't look away from you when I'm sparring!'

you hadn't realised how close you were to each other. now percy's face is close to yours, both of you breathing heavily.

you knew percy liked you, obviously. you wouldn't be staying in his cabin almost every night if he didn't. but this? even though you knew percy had liked you for a long time, you hadn't been together for that long.

'you love me?' you say in a soft voice, feeling your anger and irritation ebb away.

percy closes his eyes and shakes his head, as if he just now realises what he said. then he sighs and when he opens his eyes and looks at you, there's nothing but sweetness in them.

'yeah. I do.' says percy. 'I've loved you for a long time, actually.'

you smile and want to say something but percy's eyes widen.

'wait, shit, is that too soon? should I have waited to say it? oh gods if I-'

'percy.' you say, shutting him up by stepping even closer to him.

'it's okay. I love you too.' you say.

percy grins and his eyes twinkle. without warning, he puts his hands on the sides of your face and crashes his lips against yours. he can feel the smile on your lips.

when he pulls back, you're both smiling.

'you still want to go on that walk?' says percy.

'definitely not.' you say.

percy laughs and kisses you again, your argument already forgotten.

A/N: If you want to request something, make sure to read my house rulesHere’s the list of characters I write for. Everything that I have written can be found on my masterlist. Please don’t repost, steal or translate my work, as I spend much time and effort on it!! Thank you for reading! Much love, Marit

[abnerkrill]

fantastic rebuttal to "writers don't deserve better pay because the stuff they write is terrible/unoriginal", full thread here

(to explain, the "Unknown" under his name is from a add-on bot detector; it usually can assign a percentage likelihood that a user is a human being and not a bot, but I think the blue check system disrupted the add-on so it says "Unknown" underneath his name now.)

[image id under the read more:

May 7, 2023 tweet thread from Tom Vaughan @/storyandplot

With #WGAStrong rightfully in the spotlight this week, I've seen some less-than-sympathetic comments focusing on the lack of originality in our projects. This is a fair criticism of the system, but not the writers. A quick history of how we got here (thread emoji)

The first thing to understand is that Hollywood has NOT run out of new ideas. The studio’s preference for I.P. has nothing to do with regurgitating ideas and everything to do with MARKETING.

The late 60s-70s is generally considered the artistic high of the studio system. Ironically, many contribute this to corporations buying up the studios! The corporations knew they had no idea how to run a movie studio, so... they put creative people in charge.

This is how you got the run of so many great films the studios would never make today. They also took bigger chances on young, promising talent (the first "film school generation" of filmmakers.)

But with the success of JAWS and STAR WARS, the corporations demanded more of those kinds of hits. The creative folks insisted such things were unpredictable, and the business folks said let's make them less so.

(Sidenote: This was also the same time a completely different phenomenon was happening. A/C was becoming the norm for theatres, making summer movie-going much more attractive.)

Over the next decade, more and more MBAs and marketing people gained influence in the studio system. Being business folks, huge hits were not a creative problem as much as a product/marketing problem.

The 80s is when the “high concept” became pre-eminent because it narrowed a sales pitch to one sentence, a trailer, and a poster. This made everyone a marketing agent for a movie because everyone could explain what it was about!

In the 90s, marketing became just as important as the film itself (reflected in their respective budgets) when Hollywood discovered they could profit from fifty years of pre-existing awareness for old TV shows and movies.

This allowed the marketing department to move away from pitching a movie and convincing you to go see it (lower success rate), to simple “audience awareness” and building anticipation. (higher success rate.)

The audience knew what THE FLINSTONES the movie was. They just needed to know the casting and when it opened. No one needed to have the remake of GODZILLA explained to them. They just needed to know when it opened.

The marketing department prefers AWARNESS over SELLING because awareness is something you can throw money at. Selling is harder, and it’s less predictable. This is why franchises are so valuable.

Whenever someone says, “That’s something I can sell!” It’s usually something that can sell itself. What they mean is, "I just have to let people know about this!"

Hollywoods's reliance on property the audience is already familiar with is 100% because... the audience is already familiar with it. It is easier to market the product and this increases its chances of success.

This focus on I.P. has become so pervasive, many, including executives themselves, have forgotten WHY it's valuable. They'll option an unknown comic BECAUSE it's I.P., forgetting that it's unknown and lacks the main asset of I.P.

Writers do love writing on an I.P. that means something to them. Every Star Wars fan who became a filmmaker would love to work in that universe. But we do not love it more than our own original work. We would always rather work on that.

So when you see another remake, or reboot, or adaptation, and think, "Can't they come up with something new?"

Remember, the answer is yes. Yes, we can. And we want to. You can blame the market or the marketing, but either way, the widespread production of truly original content is just not the studio business model we're in right now. #WGAStrong

end ID.]

[luveline]

could i request teacher!reader with hotch? like maybe she’s jacks teacher

thank you for your request! fem!reader, 1.2k

You're a teacher: you're always tired. Overworked, underpaid, everybody knows how it goes. And maybe you've let yourself go because you don't have any real material hopes for the future beyond getting Macy Danish to read at a first grade level, but how were you supposed to know that Jack Hotchner's father would be so overwhelmingly attractive? It's not fair. 

He's handsome though older than you'd been expecting, but that isn't the cut and dry of it. When he comes in, it's alone, in a well-fitted suit. He's tall and remarkably dark-eyed, shaking your hand without trying to impose any authority, as some of the fathers tend to do, and when you call him Mr. Hotchner, he says, "Aaron, please," but continues to call you Ms. L/N.

"Aaron," you say, pulling your skirt under your thighs as you sit down. You're dressed in nice clothes for the parent-teacher conferences, but you could've covered your sleeplessness better. "Jack is the nicest boy in class. He's actually my loveliest kid. Um…" You search through your notes for the preliminary assessment of Jack. "Sorry, two seconds." 

"Take your time. I know what it's like to dig through a mountain of paperwork every day." 

"Jack mentioned you work in the government, he calls you a special agent," you say, smiling. "You get the bad guys." 

"I am a special agent. Supervisory." Aaron is conscientious enough to pretend he doesn't notice your surprise. "I'm chief of the behavioural analysis unit." 

You can't even begin to guess what that entails. "Oh," you say breathlessly. 

"I understand that it sounds fantastical." 

"It sounds impressive," you say, floundering to correct yourself. Behavioural analysis? It must be obvious to him how nervous he's making you, then, and when you realise that, you get worse. "I'm so sorry about this. I should be more organised. I usually am." 

"That's alright. Take your time." 

Does he always speak that way? His voice is like fucking silk? Is he messing with you?

You yank the notes you made for Jack from the pile and flatten them across the desk. "Okay, sorry. Like I was saying, Jack is really the nicest kid, him and his friend Molly. They're both lovely, and teachers shouldn't have favourites, please don't tell the other parents, but they're my favourites." You smile at him quickly and return your eyes to the paper. The words swim in front of your eyes. "Jack can read better than you could ever hope for a first grader, he's immensely intelligent for his age group. He's patient. He'll explain anything to anyone if they ask him too, and he does it well." 

"I'm glad to hear that," he says, again so softly. 

You pick up one of your skinny biros to have something to fidget with. He's a very good looking man, but you're a good teacher. You can focus on what to say. Some parents need good things only. Some need reassurement that they're doing a good job. Aaron is harder to read, but you know what he needs, too. 

"He can be lonely," you say, looking him in the eye. "I don't think that that's down to any fault. I'm sure you know better than I do why he might feel that way." You know about his mom's passing over a year ago. You've seen grief in children too many times. "He… I understand if this isn't okay with you, but he eats lunch with me sometimes. I encourage him to sit with his peers, of course, but I think he runs out of energy pretty quickly." 

Aaron nods thoughtfully. His brows quirk into a furrow that you're afraid is directed at you. 

"I don't think he necessarily has trouble connecting with his friends." 

"What do you think?" 

"I think something awful happened to your family, and Jack will feel it for the rest of his life, but that it won't stop him from being great. It already isn't. And… he clearly has a father who loves him and who he admires. You're his second favourite topic." 

"What's his first?" he asks. 

"He's really into Fruity Fridays," you say with a laugh. "I bring in fruits you don't get often in America. Someone would've had to sign a form." 

"No, I remember signing it. He likes that?" His smile is golden. "I can't get him to try new things." 

"He had all the leftover gold kiwi last week." You rub your lips together. Time is ticking. You have nearly thirty parents to see tonight, but talking to Mr. Hotchner has been so normal. He's a regular person in a sea of inattentive helicopter narcissists. It's a relief and a half to meet him and know a kid as gentle as Jack is in good hands. "Mr. Hotchner, I have to tell you, I'm really relieved to meet you." 

"Aaron," he corrects.

Your tone drops too low. "Aaron." 

"I'm more than relieved," he says. "I knew that this year would be harder for him. I didn't know… I'm grateful to you, for being so kind with him." 

You look down at your notes, flushed from head to toe despite your airy skirt. Crossing your legs, you shake your head. "It's my job." 

"To let him take up the only break you get all day?" he asks. 

"It's not like that. Jack doesn't bother me." You fold your notes in half. "I can see his role model measures up." 

"I could say the same thing." 

The next time you see Jack, bright and early Monday mooring shepherded by his aunt Jessica, he's very happy to see you. You offer him a hug and pat his back when he wraps his arms around your hips. "Hello, Jack. Was your dad pleased with your drawings?"

Jack smiles at you. "I have a note for you." 

"You do? Can I see? Where is it, honey?" 

Jack takes off his backpack and pulls out the note and a tupperware container. "Oh, wow, did you make treats for the class? Jack, that's so nice!" 

"No. Dad said those are for you. He said you should have nice for nice, or something," Jack informs you. 

"You'll share with me, though? I can't eat them all by myself," you whisper. 

He nods with enthusiasm and runs off to put his backpack in his cubby and his coat on the hook. You look down at the cookies and note, which is actually an envelope. 

You open it with your thumbnail. The writing is Aaron's usual tight cursive.

Dear Miss L/N, 

I hoped to thank you again in person, but work makes that hard. I appreciate everything you do for Jack. There are teachers who work, and there are teachers who go above and beyond. I can feel confident anywhere in the country knowing Jack is being taught by the latter. 

Gratefully yours, 

Aaron Hotchner. 

P.S. Please don't feed Jack too many cookies. They're not for him. 

You keep the letter even if it's lame to do so. When is the next parent teacher conference, anyways?

[visionsofmagic]

✧˚ · . mk1 men with villain!reader [bubbles] ˚ · .

tomas, kuai liang, bi han, raiden, liu kang, johnny cage, kung lao, syzoth, shang tsung

—⭒ intro. dialogues, fluff, spicy, crush!mk1 men, crush!reader, pet names, hurt/comfort, flirting, power play, 's all? • came to my mind & I wanted to write but it's my first time to write this kind of work [intro. dialogues], so, take easy on me please. enjoy!

y/n: oh hi pretty boy! already missed me? tomas: what would I miss? you tried to rip my heart last time we met!

y/n: c’mon tomas, be a good boy for me and maybe I will let you come and take a look up close. tomas: I prefer not to get so close y/n. I don’t want to end up like the last time.

tomas: it's tragic to see you as an enemy of mine, y/n. I wish we met before all the bad things happened in your life. y/n: don't, tomas, don't give me hope of having someone who understands me truly.

kuai liang: don’t play with me, y/n. y/n: what would you do? burn me alive? well, that kinda sounds sexy.

y/n: well well, it's good to see my favorite boy. kuai liang: favorite boy to kiss or kill?

kuai liang: you should join me y/n. together we can protect the earthrealm. y/n: it’s a bit sad how you chose to protect it when you can simply - burn it to the ground.

bi han: you were so much more fearful in my dreams. y/n: you dreamt about me? oh, so cute!

y/n: c’mon ice boy, I bet you need someone to warm your bed. bi han: I take this as an invitation, y/n. are you so needy for me?

bi han: together we can reach the power we need. y/n: baby, I can’t decide which version of you is sexier; evil or good boy. so, I would say; both.

liu kang: don’t play with this timeline, y/n. keep still. be good for once. y/n: but where is the fun in that?!

liu kang: for what you have done, I should punish you. y/n: it sounds kind of hot when you say it like that fire god.

y/n: I bet you would look so good on your knees before me. liu kang: you always have a side that is hungry for power, aren't you, y/n?

raiden: I wish you were on our side, y/n. y/n: it’s not my way to be a gentle farmer boy. I like it rough.

y/n: oh, is that blush on your pretty face? raiden: don’t even start again!

raiden: liu kang says we once were lovers - in previous timelines. y/n: you sound excited raiden. it’s a matter of time before we become one in this too.

johnny cage: oh, where have you come from? hell? because you’re burning like one! y/n: after this fight, I will not be the only one who’s burning, cage.

y/n: no one can replace me, so, I can choose to play in your movie, johnny. johnny cage: really?! baby, you even deserve your own movie! with me, as your partner.

johnny cage: you have all villain types baby; power, rage, a bit of sexy energy. y/n: and you have everything to be thankful that I will go easy on you, star boy.

kung lao: you should be on our side, miss. y/n: it’s boring, but I can let you be on mine farmer boy.

y/n: I like your hat much more now. how about we make a good use of it? in bed. kung lao: oh, right? thank you for the - wait, what?!

kung lao: liu kang warned us about you; about how bloodthirsty you can be. y/n: you shouldn't worry too much cutie, I will be gentle with you.

y/n: can you really shape-shift into a human and a reptile? it’s fascinating! can I have a close look? syzoth: don't even think about it y/n. the last time's marks are still on my tail.

syzoth: why do you keep fighting with me? y/n: because I wanna see the beast inside you. it’s mesmerizing.

y/n: you should be my assistant instead of milena’s. we can have so much fun together. syzoth: a voice in me says that the fun you refer to is not what I think it is.

y/n: don’t think I am at your side shang tsung. it’s just business. shang tsung: such a shame my lady. we could have been a great couple.

shang tsung: I wonder what you looked like in previous timelines, darling. y/n: curiosity killed the cat, sorcerer. focus on me instead.

y/n: you know, I kinda like seeing you on your knees shang tsung. no one can even guess how pathetic you’re for me. shang tsung: I don’t care my love. satisfying you is my priority.

💛